Gipsy the checo as a musical instrument in sana district, in northern of peru english ok

The "Checo" as a Musical Instrument in the District of Saña, in The nNorth of Peru Gipsy Yanira Medina Seclén1 1 Summary.

The Checo is a percussion instrument, which was developed within the Afro-Peruvian culture in the district of Saña, and has achieved recognition as a Regional and Cultural Heritage of Lambayeque, while being part of a musical tradition that is taught in the lives of people from Saña. It has been thought desirable to know the influence of Checo as a musical instrument in Saña district, in northern Peru. Likewise, this essay justifies its applicability due to the need to reveal the significance and influence of the Checo as a musical instrument in the culture of the Saña district. Furthermore, this research has achieved to discover the influence that the Checo has with the youth, in Saña and other nearby locations, thanks to the promotion that generates the Afro- Peruvian Museum.

The Checo is also promoted as Regional Heritage in Lambayeque and it is revealed the similarity that it has with Angara, which is another musical instrument, moreover the difference between Checo and Peruvian Cajon is very noticeable, since the Checo is considered as provincial instrument while the Cajon is considered as national instrument.

Keywords: Checo, Musical Instrument.

Resumen.

El Checo es un instrumento musical de percusión, que se ha desarrollado dentro de la cultura afroperuana en el distrito de Saña, y además ha logrado ser reconocido como Patrimonio Cultural Regional de Lambayeque, siendo a la vez parte de una tradición musical que se imparte en la vida de los pobladores de Saña. Se ha creído conveniente conocer la influencia del Checo como instrumento musical en el Distrito de Saña, en el norte del Perú. Así mismo, el presente ensayo, justifica su realización debido a la necesidad de revelar la transcendencia e influencia que tiene el Checo como instrumento musical en la cultura del poblador de Saña. Por otro lado, con esta investigación se ha logrado descubrir la influencia que tiene el Checo en la juventud, tanto del distrito de Saña como de otros lugares cercanos, gracias a la promoción que genera el Museo Afroperuano. También se promueve la difusión del Checo como Patrimonio Regional de Lambayeque y se revela la similitud que tiene con la Angara que es otro instrumento musical, así mismo la diferencia que existe entre el Checo y el Cajón peruano es muy notoria, puesto que el Checo es considerado un instrumento provincial y el Cajón es de reconocimiento nacional.

1 Student of the eighth cycle of the School of Hospitality Management and Tourism Services in the Faculty of Business Studies, Catholic University of Santo Toribio de Mogrovejo in Chiclayo, Peru. Email: gipsy.medina@outlook.com.

Palabras clave: Checo, Instrumento Musical. _____________________________ 1

Student of the eighth cycle of the School of Hospitality Management and Tourism Services in the Faculty of Business Studies, Catholic University of Santo Toribio de Mogrovejo in Chiclayo, Peru. Email: gipsy.medina@outlook.com.

INTRODUCTION The history of Checo has been evolved since the early arrival of African descent, specifically installed in Saña. They spread a tradition in different aspects of life, particularly in music, which generated the use of Checo as a musical instrument that is played in the festivities. In addition, the Checo has different functions as in the case of being used as a container of chicha in those times. Furthermore, this research is necessary to focus purely on the artistic aspect, like in the case of the Checo as a musical instrument, for this reason the following question is proposed: What is the influence of Checo as a musical instrument in Saña, district in northern Peru? We must also ensure that this research is important because it revealed the significance and influence of the Checo (Lagenaria siceraria) as a musical instrument in the culture of the settler in Saña, managing to turn the historic recognition of this Regional Heritage in Lambayeque and to value the importance of the history. Furthermore, this study is relevant because it will be a contribution to knowledge about the local cultural heritage related to Checo in Lambayeque, in the north of Peru. The Checo (Lagenaria siceraria) is a musical instrument that is part of the cultural identity of Saña, and has come to be regarded as a Regional and Cultural Heritage in Lambayeque. This instrument is part of a tradition that has come to spread all over the Lambayeque region, and as other instruments in the same category (as in the case of the Angora and drum jar), have been presented various musical art afro Peruvian activities in nationwide, and it is notorious because its presence is still used. To realize the hypothesis we have proposed the following general objective: determining the influence of Checo as a musical instrument in the Saña District in northern Peru. In addition, the specific objectives of this research are: to know the history of Checo, as part of a cultural heritage of Saña, to determine the relationship between the Checo and other instruments; and finally to identify the tradition related to Checo as a musical instrument.

Saña District History.

Hernandez (2013) stated that the foundation of the Saña district was on November 29th, 1563, under the name of Villa Santiago de Miraflores Saña (located between Chiclayo and the Valley of Jequetepeque River); Captain Baltasar Rodriguez founded this district in the colonial age. Then the Spaniards brought African slaves for agricultural work and service in the viceroyalty; in this way a mixture of cultures was generated, forming Afro-Peruvian roots. Following this, Saña becomes in a wealthy and

famous city, and it causes that in 1686, the pirate Edwin Davis stole the wealth that the Spaniards had in those lands. That did not prevent Saña to get better, but unfortunately, on March 15th, in 1720, a flood occurred, the water from Saña River left its banks and flooded the whole city, destroying everything that was in it.

The Origin of Checo Word.

The Checo word has many traditional meanings in different cities of Peru; it is notable that each of these designations was applied according to its usefulness. That is the reason why Fernandez (2012) wrote: Checo, as Esteban Puig Tarrats indicated, is a matte used as a trademark by master’s assistants. He also recorded that it is the fruit with yellow and black shell and hard pulp, which is used in children's games as bolinches called "Checo’s eyes." Its rubbery casing is used for washing clothes. Checo is a type of gourd (Lagenaria siceraria). The place-name Checopon comes from the Mochica language, because "pon" or "pong" in Mochica means stone, but also means hill; and it is interpreted as the hill or stone as Checo. When Richard Schaedel accessed to the file of Brüning museum, said: "Other ways to use pumpkins were: a “big” one named as “Ponga”, of 6-8 litters with a hole that served as a reservoir for chicha, ready to be served with the name of "murlo". This information reinforces the relationship between the Checo and some type of gourd, which evoke a stone or hill. The Checo in Cutervo, a place in Cajamarca region, it is known as "Choloque".

The Spanish priest Bernabe Cobo, indicated that there was a stone called Checorumi, combining Mochica word with a Quechua place-name, Rumi means stone, meaning "The Checo Stone". Cobo referred to this word as a stone, which was named Checo (pp. 1- 2).

History of Checo in Saña District.

Rocca (2009) stated that the writer Jose Maria Baca, visited Saña, on January 30th, in 1938, and he described how the Checo (Lagenaria siceraria) was played on a party of that place: Ten or twelve people met themselves. The ones who sing remain standing. The other ones remained sitting. The only instrument was Checo. It was made of the same wood and way as the "poto". At that time, the Checo was used as a measure of corn. In addition, afro-Peruvians were those who used the Checo, generally had the measure of a bushel. The afro - Peruvian sat down on the floor and he put “Checo” between the thighs, so that the legs have free movement.

The "Checo" was flipped, with the opening down. On top, the afro-Peruvian was

drumming and printed a rotation and a rise and fall, so the sound depended on the distance between the apertures that the Checo and the floor had, as well as the position of this: that means it was found parallel to the ground and inclined (p.

12).

Figure 1: The Checo as musical instrument Source: Photo by Carlos Ugaz in Sa単a District (Northern Peru).

Arteaga and Rocca (2010) stated that the first appearance of the gourd musical instruments called "Angara" and "Checo" was in the paintings of Ignacio Merino, an artist from Piura, in the nineteenth century. One of these paintings is titled "Party" which was carried out between 1840-1850 in Sa単a, where it showed a person playing a round gourd, a guitarist and a set of people. Then came another painting called "Criolla Ballad", which there were two persons of African descent, and one was in charge of playing the Checo.

The Use of the Checo in Baile Tierra (Dance Land).

Rocca (2009) claimed the existence of a genre called Baile Tierra (dance land) or Golpe de tierra (Strike Land) that developed in the nineteenth century in Sa単a, and which the Checo (Lagenaria siceraria) was used as the main instrument. The name "Strike Land" refers to the music based on the use of Checo, as a percussion instrument. It is a dance in the countryside, where formerly women and men danced barefoot standing on their heads a gourd full of rum or chicha, and had to keep the balance do not to let it fall.

Arias (2010) considered the influence of musical instruments such as the drum, the Checo, the jaw and the box, in different Afro-Peruvian dances (Zamacueca, Golpe tierra, Tondero, Festejo, Alcatraz, Inga and Marinera Norteña) that exist on the coast of Peru. African people, who were living in the country, transformed everyday objects into musical instruments as the Checo in Saña, which was used as a container for the chicha, but also used as a tool in various melodic sounds emitted in the party, which were held in the homes of the locals. Besides the Afro- Peruvians in Saña have made to the rebirth of the Checo a campaign, which has achieved to discover the history of other musical instruments like the Quijada (made by the infer mandible of a donkey or a horse) and the Cajita (it is a box used for charity, beggar and people play it closing and opening its cover).

Promotion of the Checo as Musical Instrument.

Cornejo (2008) presented the appearance of a new called “An English person spread the Criolla party in Londres- David Mortara" by Natalia Tarnawiecki. This character started analysing a disc that he bought in a CD site of World Music, the disc did not have much information and the music inside was no longer circulating in Lima, not only because it was old but also by gender addressed (the Party of Lima). This genus arose in vocal counterpoint reflecting a series of experiences, social contexts, and attitudes toward life that today do not exist anymore. The selection of topics comes from a vast music collection that met José Durand (writer and researcher of the Peruvian Creole and Afro-Peruvian music) in life. On the other hand, in this story, David Mortara’s initiative (musician and researcher traditions of Afro-Peruvian music and lives in England) was also exposed to disseminate the rescue of Checo, an instrument made of gourd or matt, used in musical traditions of the city of Saña (Lambayeque), which was already falling into disuse and it is recovering slowly.

Lopez (2012) revealed that in the National Museum's exhibition "Afro-Peruvian musical heritage", in which 14 Afro-Peruvian musical instruments will be exhibit, such as the Reco Reco, Checo, Mbira, Marimba, Angara, Quijada del burro, Tambor de tronco largo, Calabazo, Cajita, Tormento, Carrasca, among others . Many of these instruments were known only through references, but thanks to the work of various researchers and instrumentalists, as well as the institutional effort Afro-Peruvian Museum in Saña, have been publicly displayed for the first time, achieving 200 years of history gathering musical, which is a valuable contribution to the Peruvian and Afro-Peruvian music especially.

Becerra (2009) revealed that Afro- Peruvian Museum in Saña started a national outreach campaign and presentation of the "Checo" as a percussion instrument created

by Africans and their descendants in the Peruvian coast in the colonial era. The

campaign is to distribute copies of the Checo to outstanding Peruvian percussionists and dissemination of gourd seeds in order to achieve greater production of this musical instrument as old. Also some artists already familiar with the musical instrument, as in the case of Arturo Zambo Cavero and Abelardo Vasquez Diaz, who played the Checo in Lima in 1979 for a television program, creating a resurgence of the use and integration of the Checo that instrument and musical ensembles of Peruvian artists. On the other hand, the Folk Art Workshop (Llampallec) Cultural Association began to rescue the Checo as percussion instrument in the anniversary concert on April 30, 1997, where Mister Manuel Llancari Cuba played the Checo (also features on their property with 50 of these instruments), since then the importance of instrument, use is spreading in various artistic presentations in Peru.

Andina Agency (2013) stated the interest that some experts on issues of African descent and musicology in the world and among students and teachers of educational institutions in the region of Lambayeque. The Afro-Peruvian Museum has covered seating for 200 to 300 students weekly and lately people have visited Spain, France and Peruvians who are studying in America. The purpose of these people is to know the history of the instruments and hear the special sounds of the different musical instruments that were salvaged from the old slavery. There are collections of AfroPeruvian instruments (not only from Peru but also from some of Latin America and Africa) of the eighteenth and nineteenth century, which have been reconstructed from images. In addition, the Director of the Museum, Luis Rocca Torres said that Peru had 21 instruments in colonial times and have been rescued 13 of them. They have instruments like marimba eighteenth century, the Cajita rectangular (rectangular box), the Carrasca, the tamboreco contained in the sheet of Spanish Bishop Jaime Martinez de Compa単坦n y Bujanda; Tamborcitos antiguos (ancient tambourines), the mbira is an African instrument and the mast, which survived in Chile. In addition, other ancient instruments like the Checo (small pumpkin), Cajita (box), Tambor de Botija, Angara (largest Checo), Tambor de tronco de algarrobo, Quijada de burro, among others.

Tompkins (2011) found that many of the musical instruments that once were used in the eighteenth and nineteenth centuries fell into disuse during the twentieth; the Cajita (box), the Quijada (jaw), the Cajon(drawer), the Cencerro con resonador interno (cowbell with internal resonator) and Casta単uelas espa単olas (Spanish castanets) seem to be the only surviving instruments. He hopes that the more serious students of AfroPeruvian folklore attempt to reconstruct the traditional instruments that disappeared in the nineteenth and use in their presentations of traditional Afro-Peruvian music (p.77)

Picture 2: Musical Instruments including the Checo.

Fuente: Photo by Gipsy Medina Seclén in Afro- Peruvian Museum of the Saña District (Northern Peru).

The Checo as Regional Heritage of Lambayeque.

Urpeque (2011) stated that the Regional Direction of Culture of Lambayeque considered the “Checo” as a Regional Heritage. What also originated the "Checo" became the first percussion instrument, with over 160 years and was considered a Regional Heritage, because it was in danger of extinction. On the other hand, it is interesting to admire the functionality of this instrument to emit different sounds, going back to the dances of Afro-descendant community of yesteryear. In addition, Urpeque (2011) stated that Saña has the aiming to become the tourist capital of Lambayeque and be a new alternative for visitors, but this requires the creation of a road connecting the Sipan village with Saña district and make more effective transportation for tourists.

On the other hand, the charm of its interest and importance of Afro- Peruvian Museum, which is responsible for investigating, safeguard and promote the heritage of AfroDescendants of Peru (opened in 2005) are highlighted. Here more than 100 percussion instruments used by the slaves when they were subjected to forced labour and then they used them in combination with the sound and dance. Among the musical instruments are the drum top, worn by slaves in the shoulder, and Checo, a gourd that was used to accompany dances of afro-Peruvian slaves after the daily work. In addition, the Museum promotes the participation of children, adolescents, young adults, through the preservation of these instruments gradually know the history of their descendants and thus strengthen their identity.

Picture 3: Settler playing the Checo.

Source: Photo by Carlos IbĂĄĂąez in SaĂąa District (Northern Peru)

The Checo and the Peruvian Cajon.

Urquiaga (2011) said that unlike the Checo, the drawer is the most representative of Afro-Peruvian music musical instrument. Evidence of its existence is from the midnineteenth century as a companion tool for the Zamacueca, and its use has been growing ever since, even dabbling in other styles and musical folklore of the country and America (p. 9).

Romero (2010) stated that the classification of musical instruments at the discretion of Mabilson, Hornbostel and Sachs, classify them first in idiophone instruments (those whose sounds are achieved by vibrating bodies themselves as Cajon Criollo and Checo). Second membranophones instruments (those whose sounds come from tense membranes, such as tambores (drums)). Third chordophones (those whose sounds are produced by the vibration of strings distended, like the violin); and finally, aero phones (those in which the sound vibration of a column of air, such as flautas (flutes) is achieved).

MATERIALS AND METHODS The type of study is considered no experimental and cross-classification descriptive qualitative research. Hernandez, Fernandez and Baptista (2010) indicate that data are collected at a specific time and in a single time. Its purpose was to describe variables and analyse their impact on a given time. Qualitative research captures information through not directly observable facts as opinions; thoughts to be acquired by the people involved in this case, managers and / or guides Afro- Peruvian Museum in Sa単a District and the players of the Checo. To Hernandez et. al (2010) in qualitative and descriptive research, which is characterized by evaluating certain characteristics of a particular situation in one or more periods, also describes the situation, phenomenon, or process to formulate social fact based applied of the hypothesis. The population of this research project will consist of two appointees of Afro-Peruvian Museum of Sa単a, Dr. Luis Rocca and Ms. Carmen Cassio and two representative individuals who play the Checo, as in the case of Carlos Urbina and Carlos Oliva, these people are directly involved with the art and the use of Checo. Dr. Luis Rocca wrote many books related to Checo as musical instrument (Book Revival of Checo). Mr. Carmen Cassio is Guide Afro- Peruvian Museum and has constant contact with young people who play the Checo. Likewise, the young Carlos Urbina is grandson of Cultist (Medarno Urbina), who was the most representative person in Sa単a, and Charles inherited the skills of playing the Checo as well as his family. In addition, the young Carlos Oliva is a worshiper, since childhood he learned to play the Checo and meets weekly with their peers in the Afro-Peruvian Museum. The sampling frame is based on research not probabilistic. Thus, Hernandez, et. al (2010) indicated: "In nonprobability samples, the choice of the elements does not depend on chance but related to the characteristics of the research or who makes the sample causes." (P. 176).

The method of this research will be phenomenological. So Rodriguez et. al (2010) defines it, as "phenomenology is the systematic investigation of subjectivity" (p.

98). The technique for this method is the structured interview, this will apply to those charged Afro-Peruvian Museum and the players of the Checo, who will be chosen because they are directly involved with the using of the Checo. Alvitres (2000) defined this technique as "interpersonal communication that establishes the researcher with the subject of study in order to obtain the information that has been proposed to collect on the proposed problem." (P. 99). On the other hand, research tools allow record data quickly and prequalification for a better comparison of results. Data were recorded by using computers or printed materials. Between the equipment to be used is the camera and voice recorder. Among the printed materials, questionnaires will be printed to interview assistants (open item). Alvitres (2000) also defined the technique as "an aid to collect and record data obtained through methods and techniques." (p. 25). Finally,

Hernandez et. al (2010) indicated that the procedure must be careful because this has to be valid and reliable. For processing data in Microsoft Word 2013 interview, the program that allows organizing all the information received, and thus able to analyse properly handled. Each idea will be obtained via the interview will be read in detail.

DISCUSSION From all the data obtained in this investigation, it has been revealed that the Checo has many meanings and functions that are used in the north, one of the terminologies of the word Checo, is associated with Mochica language, which compare the place name "Checopon" which is from the Mochica, for "put" or "pong" in Mochica language means stone, but it also means hill; and is interpreted as the hill or stone as Checo, also Richard Schaedel linking him with a "put" or container in which the beer formerly stored and had an occupancy of 6-8 liters (Fernandez, 2012, p. 1 -2). A year before the publication mentioned above, were published in major radio stations of Peru, as in the case of “Radio Programas del Peruâ€? (RPP news). These publications were related to Checo, which mentioned that this was not only recognized as a container or common matte but was consolidated for being a percussion instrument of yesteryear, made from plant gourd, which in turn had led to its designation as a Regional Cultural Heritage Lambayeque, being an influential instrument in Afro-Peruvian culture developed in the SaĂąa District (Urpeque, 2011, p. 3). Furthermore, interviews Dr. Luis Rocca Torres; and Ms. Carmen Cassio guide Afro- Peruvian Museum on October 27, 2014, show that within the framework of the activities of the Museum, the Checo if recognized as a Regional Cultural Heritage, since the people who come to this place (mostly from other districts and cities), they do so in order to know more about the history of Checo, and manipulate percussion instrument. Through Andina Agency (2013) mentioned that the Afro-Peruvian Museum has covered seating for 200 to 300 students weekly, and recently was visited by people coming from Spain, France and Peruvians who are studying in America with the order to learn more of Afro-Peruvian music history. In addition, this misrepresents the answers given by the two interviewees Carlos Urbina and Carlos Oliva (10/27/2014), who claim that few residents who value the Checo as a Cultural Heritage, many do not know what this means, since they are involved in other activities, such as work or study, generating them to travel to other places, and often only return on weekends, and this is where some people, mostly young (amateur music), meet to play various musical instruments, including Checo.

These responses are particularly associated narrated by Tompkins (2011) who referred to the low diffusion and recognition with musical instruments and said, "I wish that more serious students of Afro-Peruvian folklore attempt to reconstruct the traditional instruments that disappeared in the nineteenth century and use them in their presentations of traditional Afro-Peruvian music "(p.77). As a contribution to the recognition of musical instruments in the National Museum in Lima city, the exhibition

"Afro-Peruvian musical heritage", in which 14 Afro-Peruvian musical instruments such as Reco Reco, Checo, Mbira, Marimba, Angara, la Quijada de burro, Tambor de tronco largo, Calabazo, Cajita (box), Tormento, Carrasca, among others. Many of these instruments were known only through references, but thanks to the work of various researchers and instrumentalists, as well as the institutional effort Afro-Peruvian Museum in Sa単a, have been publicly displayed for the first time, achieving 200 years of collecting music history (Lopez, 2012, p. 4). Since this moment, the Checo has received attention from various Peruvian artists who are involved in Afro-Peruvian music, which also recognize the importance of a musical instrument to be named Regional Cultural Heritage.

CONCLUSIONS The Checo (Lagenaria siceraria) as a percussion instrument influences in young people from Sa単a and visitors from other districts, since it used as an artistic activity in the Afro-Peruvian Museum.

There is a relationship between the Checo and the Angara, since they are made of the same material (gourd); On the other hand, there is also a similarity to the Tambor de Botija being a percussion instrument as old as the Checo, and together they form pleasant melodies. The Checo is considered more rural and it has a local fame, and the Peruvian Cajon is known to be much more urban and it has popular fame, as in Lima city, where the usage of this instrument was expanded.

The Afro-Peruvian Museum is the medium that tries to keep the tradition of Checo in the Sa単a district and especially to promote it as a Regional Heritage of Lambayeque to the residents and visitors. It is also responsible for encouraging young people and children in to the artistic spirit and the proper usage of Checo as a musical instrument, developing activities as art workshops and contest through the holiday season in the district, as in the case of the Checo Festival.

RECOMMENDATIONS Encourage other districts of Lambayeque, about use of Checo as a musical instrument, enabling the growth of a regional tradition. In addition, to sow the pumpkin seed, in order to Checo (Lagenaria siceraria) will not be extinguished, moreover do not compare the Checo with Peruvian Cajon, because each one has different characteristics that make them important in their field. On the other hand, it is important to spread the function that has the Afro- Peruvian Museum as part of the growth of AfroPeruvian identity, which brings a lot to the recognition of many percussion instruments.

And the most important, reveal to population of Saña the true meaning of a Cultural Heritage and the importance to strengthening its own local cultural identity.

GRATITUDE I thank Dr. Julio Cesar Fernandez Alvarado for guiding me, contribute their knowledge to the proper development of this project, and to Mgtr. David Sánchez Medina, who gave me this project, to discover the history of a musical instrument called Checo, widely recognized in the northern part of Peru. In addition, I thank Miss. Andrea Soriano for helping me to translate in English this essay.

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